History of publicity

In 1995, publicity is defined in the Petit Robert by " Together means of communication intended to make known a good, a product or a service, and to incite the public to acquire it, by means of communication of masse". But the definition given by the Dictionary of the French Academy in 1879 differs: " Advertisements in the newspapers, the posters or the prospectus".

What did it occur so that the definition of publicity underwent such a change in hardly more than 100 years?

Prehistory of publicity (Antiquity-1850)

One finds as of the Antiquité certain publicities, like frescos praising the merits of a politician or advertisements of combat of gladiators.

With the the Middle Ages , the royal decrees and commercial advertisements are diffused near the citizens by public criers, thus representing the publicity of the time (see on this subject “the public criers at the end of the Middle Ages. Stakes of a research”, in C. Boudreau, éds. Information and company in Occident at the end of the Middle Ages, Paris, Publications of the Sorbonne, 2004, pp. 203-217)

In 1539 , François I {{er}} issues that the ordinances will be written with the French hand and will be fixed on the wall, with the sight of all after being said by a crier.

In 1789 , at the time of the French revolution, the posters and the lampoons is printed or printed to make extend the revolutionary texts quickly.

Until the end of the 18th century, publicity evolved/moved little, being then developed very little under its commercial aspect.

Poster on television (1850-1970)

The reign of the poster (1850-1920)

The war of 1870 generates large economic transfers, the production is then growing. Publicity supports this production.

The extension of the railway networks and the appearance of the department stores involve an intensification of the exchanges and a widening of the markets. Publicity then becomes increasingly necessary.

The strong rural migration of the time allows an increase in the standard of living of the townsmen and thus an increase in the production. One sees appearing the catalogs of mail-order selling as well as the exhibitions in the countryside.

The liberalization of the press then makes it possible to increase the number of publicities in the newspapers. In 1896, more than 37% of the receipts of the Figaro are due to publicity.

From 1880 to 1900, one attends a phenomenon called affichomanie , i.e. the posters are collected more and more, which improves quality of it. Toulouse-Lautrec and Leonetto Cappiello contributes to it largely while simplifying, each one with their manner, the forms and the colors in order to return more the posters attracting. A poster costs in 1900 approximately 12 francs 60, whereas in comparison a daily newspaper costs only 50 centimes.

One then sees extending the logos from marks to packing, then towards 1920 with derivative products (boxes of matches, ashtrays, etc)

The voice of publicity (1920-1950)

In 1922 appears the radio, the first commercials will be them diffused since 1928.

In 1923, Citroen proposes the installment purchase with its publicity campaign, thus supporting the citizens of the middle-class to the purchase.

The years 1930, American publicity, more technical, enters in scene being opposed to more artistic French publicity like that of a Cassandre. One thus sees being born from the courses of publicity in business school, then the trade of advertizing executive. Publicity wants to be technical, almost scientific then.

In 1936, the appearance of paid vacations thanks to the Popular front makes it possible publicity to turn to the holidays and leisures, in particular in the field of the winter sports.

The World Fair of 1937 is the first to propose a house of publicity. That shows, by a transformation of the values and the appearance of marketing, the beginning of a company of mass.

After the Second world war, the displays (windows and interior installation) are emphasized. Four types emerge:

  • display of presentation, which presents the articles of the store
  • the display of attraction, which tries to attract the eye of the passers by
  • the display of prestige, which gives an outline of the standing of the store
  • the display of notoriety, which sells almost only one name of mark

Glorious years of publicity (1950-1970)

The Marshall plan allows the expansion of the American ideals, with like principal symbol the pinup.

During the Thirty Glorious ones, publicity reinforces the idea that the leisures are highly important in a life.

In 1955, the Social sciences (psychology, sociology,…) appear in the field of publicity.

In 1960 they are the beginnings of publicity on television, and in the 1968 all marks are authorized with televisual publicity, except the linen room, the fuels, the discs, or the margarine, " in the respect of the fundamental interests of the economy nationale".

Current evolution of publicity (1970-demain)

In the years 1970, publicity becomes a true cultural phenomenon, the media analyze the images and the publicity campaigns. They transform publicity into event, with for example the television program Culture Advertizing .

As of the years 1980, photography takes an important place in publicity by poster. It can be documentary (presentation of a tool and its characteristics), artistic (mainly for publicities of perfumery), or with the service of the idea (mainly humorous). One of the most outstanding events of the time at summer the countryside of the Posters Myriam, introducing a woman who strips herself a little more each day.

In the years 1990 appears the concept of Packaging which emphasizes a product thanks to its packing. At the same time, publicity becomes increasingly targeted on part of the population (age, ethnic origin,…), and of the specialized stores a " style of vie" appear ( Nature & discovered , Fnac Junior , Pimkie ,…). More and more often, publicity joins an emission or an event, it acts then of Sponsoring. Sometimes even the marks are posted politically or socially ( Benetton in its combat antiracism). It is about Mécénat.

One also sees re-appearing in the Nineties a movement anti-pub, with like example more running the group Casseurs of Pub. This movement anti-pub denounces the normative impact of publicity on the children, the privatization of public spaces to the profit of the marks, the advertizing wasting,…

At the dawn of the third millennium a new form of publicity appears, the Shockvertising, based on the shocking aspect of the images and/or sounds of publicity, such as for example the Road safety campaign.

See too

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