Download Black Social Dance in Television Advertising: An Analytical by Carla Stalling Huntington PDF

By Carla Stalling Huntington

The impact of dance upon shoppers has lengthy been understood through advertisers. This paintings investigates using black social dance in tv ads. masking the Fifties throughout the 2010s within the usa, dance is proven to supply worth to manufacturers and to impact intake stories. An interdisciplinary paintings drawing upon anthropological, phenomenological and cultural theoretical techniques, the textual content offers a idea of dance for a tradition that has continuously drawn upon African-American arts to promote items.

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In any event, functions change over time and from situation to situation. Many societies make up dances or call them by different names when they are to be displayed publicly, that is, out of context for which they originally functioned. In doing so, society believes these are different dances. As will be discussed in chapters 4 and 5, perhaps non-blacks doing black social dance or reading it in a commercial see it this way. Or the presentation of the dance with non-black groups of people make it palatable for non-blacks.

Sociological and religious encounters can involve awe. People come away from religious experiences transformed, as they are also transformed through sociologically collective sentiments, like a political rally. 80 It is the sociological and religious awe and aesthetic experience of dance that I believe is at work in commercials. Awe is also felt in private, arising from sublime feelings: the expansion of felt thought as “greatness of mind” when exposed to aesthetic literature, poetry, painting,81 and, I suggest in this case, dance.

7 This value came through historical, philosophical, and religious assumptions about the body. 9 Being male or female 26 Section One. 10 Regardless of the historical representations of the body, the consuming 11 body has its locus as a set of binary oppositions whereby one body is defined by another, and individuality is only sensible in relation to collectivity. 12 Such construction of identities then forms a basis for consumption. For purposes of this book, bodies will be understood as both executing dance and consuming goods and services in individual and collective arrangements.

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