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In this article, we will discuss how contemporary advertising becomes the territory where various artistic expressions contribute in a complementary way to the constitution of the meaning of a work. The case study will approach the activity of Oliviero Toscani, and his two decades of collaboration with Benetton materialized in memorable advertising campaigns that rewrote the visual history of contemporary advertising. We will analyze how photographic media provides advertising with one of the most consistent expressive resources, based on the realism of the image, the endless possibilities in managing the visual composition, the premises of reproducibility and, last but not least, the appetite of an audience eager for the technological image. Also, we will try to discuss the creative premises and mechanisms that characterize Toscani’s creation, the reading conditions of his advertising works, as well as how his creative strategies combine the expressiveness of the technological precision of press photography, and the appropriation strategies specific to artistic post-modernity.

espanolEste articulo se propone estudiar los vinculos entre los campos del arte visual y el diseno de la comunicacion grafica en las campanas comerciales de la marca Benetton, elaboradas por Oliverio Toscani entre los anos 80 del siglo pasado y el ano 2000. Con base en los entramados con-ceptuales de John B. Thompson y Pierre Bourdieu, utiliza-mos el metodo deductivo en esta investigacion. Nuestros hallazgos muestran que las campanas se aproximan al arte en aspectos como la estetica de lo feo; elementos realistas con imagenes desgarradoras; la recreacion de problemas sociales. Ambos campos conservan su autonomia y construyen sus formas simbolicas de manera distinta. El valor del articulo reside en la exposicion sobre un debate inacabado sobre los limites del arte visual y el diseno grafico, disciplinas que inciden en el espacio social, y conforman nuestras ideas y formas de vida EnglishThis paper has the purpose to study the links between the visual arts and graphic communication design fields in the Benetton’s commercial campaigns, made by Oliviero Toscani between the eighties and the 2000 year. Based on the conceptual frameworks from John B. Thompson and Pierre Bourdieu, we use the deductive method in this research. Our finds show that these campaigns are closed to the arts in several aspects: the disgusting aesthetics, realistic elements with heartbreaking images, the recreation of social problems. Both fields keep their autonomy and made their symbolic forms in a different way. The value of this paper consists in the exposition of the unfinished debate about the limits of the visual arts and the graphic design, disciplines that influence the social space and shape our ideas and ways of life

1 Abstract This master's thesis deals with a genre expectation from an advertising photography in magazines from 1970 up to the present. The intent of a theoretical part of the master's thesis is to characterize the advertising photography and compare it with other photographic genres such as journalistic, documentary or artistic photography, because each of those genres is characterized by different modes and so, each carries considerably diverse expectations. And thus, an attention is paid especially to a photography composition within the scope of those individual genres. However, in connection with the comparison of the advertising and journalistic photography, I also focus on regulations, which limit these genres. Further, the aim of this thesis is to map the limits of the genre of the advertising photography and depict, with the use of the particular examples, what stereotypes, prejudices and standards are used in the creation of the advertising photographs and how it ends up, when they are broken. Nevertheless, in the theoretical part I also deal with it, what does it mean a term illustrative photography and where this term is used. The practical part of the master's thesis makes it the goal to clarify, thanks to a research method of a qualitative analysis, what female readers of the lifestyle...

O presente trabalho tem por objetivo encontrar temas e figuras recorrentes em seis diferentes fotografias publicitárias produzidas pelo fotógrafo e publicitário italiano, Oliviero Toscani, para campanhas da marca Benetton. As imagens escolhidas estão inseridas no livro ―A publicidade é um cadáver que nos sorri‖ (TOSCANI, 2003). Para sustentar as análises, recorrer-se-á ao arcabouço teórico da semiótica francesa e seus desdobramentos da semiótica plástica constituídos pelo semi-simbolismo. As imagens escolhidas foram produzidas para a coleção da marca United Colors of Benetton entre 1989 a 1993 e chamam atenção justamente por sair do contexto padrão visual criado pela publicidade, o de mostrar produtos sendo utilizados por pessoas bonitas e seus cenários cinematográficos. Em contramão a esse conceito, as imagens produzidas por Toscani não trazem o produto anunciado de forma explicita, no caso, as roupas da marca Benetton. Nas imagens escolhidas, Toscani embute um discurso social, político e religioso. Sendo assim, iremos descrever a construção de sentidos gerado por estes objetos. Partir-se-á inicialmente pela semiótica plástica e o seu semi-simbolismo. A hipótese é a de que as fotografias em análise, apesar de serem imagens concebidas de forma diferente, produzem discursos simétricos calcados em um mesmo tema onde há recorrência de elementos discursivos (isotopias), discursos estes que se pretendem recuperar e descrever. Palavras-chave: fotografia; publicidade; Oliviero Toscani; semiótica-plástica; e semisimbolismo. This thesis aims to find recurrent themes and figures in six different advertising photographs produced by Italian photographer and publicist, Oliviero Toscani for Benetton brand campaigns. The selected images are inserted in the book ―Advertising is smiling carrion‖ (TOSCANI, 2003). To support the, recourse will be made to the theoretical framework of French semiotics and its development of plastic made by semi-semiotic symbolism. The selected images were produced for the collection of the brand United Colors of Benetton between 1989 to 1993 and call for attention just leave the default visual context created by advertising, to show products being used by beautiful people and their screenplays. In opposite to this concept, the images produced by Toscani not bring the advertised product explicitly, in case the clothing brand Benetton. In the images chosen Toscani embeds a social, political and religious discourse. Therefore, we will describe the construction of meanings generated by these objects. Will be broken initially by plastic semiotics and its semi-symbolism. The hypothesis is that the photos in question, although images designed differently, producing symmetrical discourse grounded on a theme where there is recurrence of discursive elements (isotopie), these speeches that are intended to recover and describe. Keywords: photography; advertising; Oliviero Toscani; semiotic-plastic; and semisymbolism.

This Bachelor's Thesis on "The influence of controversial advertising campaigns of United Colors of Benetton on the emotions of consumers in selected countries" discusses the controversial advertising campaigns of the company United Colors of Benetton and the emotions felt by consumers in response to these campaigns. The theoretical section describes the aspects, which can influence the decision-making of the consumers. The aim of the practical section was to find out the general public opinion on controversy in advertisements in the selected countries and how strong emotions this United Colors of Benetton controversial campaign aroused in consumers from the selected countries.

Im Aufsatz werden die Bilder des Leidens aus der Zeit des Bosnienkrieges (1992-1995) diskutiert, somit auch jenes Thema der Politik und der Geschichte Südosteuropas nach 1989, das immer noch bewegt und schmerzt. Das chronologisch erste Beispiel, die Benetton-Werbung (1994) mit der blutigen Uniform eines bosnischen Soldaten (Marinko Gagro), sorgte für Furore und löste international eine Welle von Protesten aus. Die Frage, die gestellt wurde, lautete: Ist eine solche Instrumentalisierung des Krieges und des Todes zu Werbezwecken legitim? Die Überlegungen Susan Sontags über das Beobachten des Leidens anderer Menschen auf den Photographien erhalten jedoch vor dem kommerziellen Hintergrund eine vollends neue Bedeutung, wie zum Schluss skizziert wird. Formalästhetisch interessant ist, dass die Photographie von einer besonderen Form der extremen Aufsicht aus aufgenommen wurde: dem Top Shot, bei dem die Kameralinse von oben gesehen parallel zum gefilmten Objekt steht. Der Film "No Man’s Land" von Danis Tanović (2001) inszeniert in der Schlusseinstellung aufgrund dieser Perspektive die auf Toscani beruhenden jedoch fiktionalen und filmischen, bewegten und bewegenden Bilder des Leidens. Der Aufsatz geht den einzelnen Stationen der (kommerziell-)dokumentarischen und der fiktional-filmischen 'Bilder des Leidens' nach, die sich im Bild der blutigen Uniform verdichten. Den Beginn des Aufsatzes bilden die Überlegungen zum Film, zum Schluss des vorliegenden Textes wird die Photographie diskutiert. Im Aufsatz wird danach gefragt, ob der jeweilige Top Shot dafür benutzt wird, um dem Rezipienten eine besondere Stellung einzuräumen.

Bachelor thesis called "Analysis of reportage advertising og United Colors of Benetton" described advertising campaign, by United Colors of Benetton in the nineties. The advertising campaign for United Colors of Benetton designed and mot of them photographed Oliviero Toscani, famous Italian photographer. This bachelor thesis focuses on individual topics of advertising campaigns, such as racism, AIDS or war. The aim was to determine the theoretical work by professional articles and books, in which countries and why the individual advertising posters banned. The aim was to investigate the practical part of the general public views the company Benetton, awareness campaigns reportage United Colors of Benetton and public opinion on ethical aspects of advertising campaigns.