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i
Although Appadurai (1996) names five categories of “global cultural flow”—
ethnoscapes, mediascapes, technoscapes, financescapes, and ideoscapes—the present
discussion focuses on mediascapes (pp. 33-36).
ii
Perhaps the most prominent representative of the tensions between art and advertising
was the Surrealist painter, Rene’ Magritte, with whom the advertising use of text- with
images in most associated. From 1918 until after World War II, Magritte worked as an
illustrator in advertising when necessity dictated (Roque, 2001).
iii
The term,”culture jammer,” is “the practice of parodying advertisements and hijacking
billboards in order to drastically alter their messages.” It was coined in 1984 by the band,
Negativland, according to Klein (2002).
iv
Fiske (1990) explains, “[R]eading is the process of discovering meanings that occur
when the reader interacts or negotiates the text” (p. 3).
v
Perhaps the most prominent representative of the tensions between art and advertising
was the Surrealist painter, Rene’ Magritte, with whom the advertising use of text- with
images in most associated. From 1918 until after World War II, Magritte worked as an
illustrator in advertising when necessity dictated (Roque, 2001).
vi
Roque (2001) offers a contradictory analysis of the advertising industry’s cooptation of
Magritte’s work relating to its traditional use of text and images, and his Surrealist
intention to work against such paired signs.
Convention