UNIT TITLE Advertising Strategy Unit Code EADV5001 Level...

UNIT TITLE Advertising Strategy Unit Code EADV5001 Location Epsom Level Five Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version Course(s) to which this unit contributes BA (Hons) Advertising

CONTENT With creativity you prosper. "Creative without strategy is called 'art.' Creative with strategy is called 'advertising.'" (Richards, 1995) This unit will examine ‘strategy’ from a creative viewpoint, exploring cultural expressions such as ideology, myth, and cultural codes. It will also explore ‘cultural strategy’ and how to identify ‘social disruption’ which can dislodge ‘cultural orthodoxy’. You will explore a variety of strategies deployed by the world’s leading advertising agencies. Through this unit you will further develop your practical and technical skills through workshops related to your briefs. Richards, J.I, (1995), Advertising professor, The University of Texas at Austin AIMS The aims of this unit are: A1 To provide scope for you to develop your capacity as strategically creative thinkers; A2 To demonstrate your understanding of a variety of creative and strategic thinking models; A3 To demonstrate and apply creatively strategic skills, in order to produce effective

communication, within the context of advertising. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Through application, demonstrate your critical understanding of creative thinking models

and their use within the context of advertising; LO2 Produce work which demonstrates a critical understanding of a variety of creative and

strategic thinking models; LO3 Work in a strategically flexible, creative and independent way, showing self-discipline, self-

direction and reflexivity.

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity1 117 No. of hours of independent activity 183 No. of hours of placement activity 0 Lectures, seminars, group tutorials, supervised time in the studio, supported with workshops where appropriate. You will be expected to: • Develop models and processes to generate concepts and ideas; • Demonstrate 180º thinking where appropriate; • Demonstrate 100 mph thinking where appropriate; • Deploy strategic models; • Apply analytical and intellectual skills regarding language and communication.

1 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weighting (%)

Typical Indicative

Assessment tasks

Where the component

comprises more than one

assessment task

Assessment Type For each component

double click in the box to see options. The options equate to the assessment types in table A2

Word Count approx. word count where applicable

Portfolio 100% A project proposal, written by the student in reference to the brief; A new product/service/event based on own experience and subsequent branding and advertising campaign based on sound strategy. A narrative that illustrates Decision-making process and the outcomes, including practical and technical skills. Evaluation*, this could be written or verbal.

Portfolio *500 words

Table A2 – Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary Table A2 data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Knowledge of a number of visible and invisible strategic paradigms used in advertising practice.

LO1

Understanding through analysis, reflection and consideration of paradigms and their use in advertising.

LO2

Application of strategic paradigms in response to the demands of the briefs.

LO3

READING LISTS2

Essential

Fill, C., Hughes, G. & De Francesco, S. 2012 , Advertising: Strategy, Creativity and Media, Pearson Education, New Jersey Monahan, T. 2002, The Do-It-Yourself Lobotomy., John Wiley & Sons. New York

2 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

Stoklossa, U. and Rempen, 2010, Advertising: New Techniques for Visual Seduction. Thames & Hudson, London Weston, A. 2007, Creativity for Critical Thinkers. Oxford University Press. Oxford Recommended Stokes, P. (2006) Creativity from Constraints: the Psychology of Breakthrough. New York, Springer Publishing. Vaske, H. (2002) Why Are You Creative? Maplewood, Mass. Five degrees below zero Press. Buzan, T. (2010 ) Use Your Head. Harlow, Pearson. De Bono (2011) Serious Creativity: Using the Power of Lateral Thinking to Create New Ideas. London, Vermilion. Hawkins, B. (1999) How to Generate Great Ideas: Brainstorming and Creativity for Business Success. London, Kogan Page. Laurel, B. (2003) Design Research: Methods and Perceptions. Cambridge Mass, MIT Press Ruggiero, V (2013) The Art of Thinking: A Guide to Critical and Creative Thought (11th ed.) Harlow Pearson Higher Education

UNIT TITLE Contextual and Theoretical Perspectives Unit Code EADV5002 Location Epsom Level 5 Duration (number of weeks) 24 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

Course(s) to which this unit contributes BA (Hons) Advertising

CONTENT With creativity you prosper. This unit encourages you to position your own practice by recourse to a variety of theories, contextual frameworks and critical evaluations, and introduces a variety of research methods to facilitate independent study towards coherent, self-reflective argument in written form. Taking as its starting point the premise that we live in a consumer culture, and that objects and images play a fundamental role in determining social and cultual meaning and value, the unit addresses a number of key texts with regard to the production, mediation, and consumption of that meaning. Exploring theoretical dialogues and debates around concepts of lifestyle, taste, fashion and identity through a series of lectures, you will be asked to consider the import of such theory in relation to both specific discipline-based practices and to the wider cultural field through seminar-based activities. Continuing with the belief that environments, objects and images 'package' experience through their often implicit narratives, the unit will also address a number of theoretical and contextual paradigms that speak to more specific areas of practice. While encouraging a view of such practice as often fluid and interdisciplinary, and subject to cultural and technological change, lecture and seminar material will increasingly focus on historical and contemporary bodies of theory and critical engagement that are most relevant to your particular discipline. In doing so, the unit will alight on a number of key issues that will allow you to further evaluate and position both shared practices and your own individual development. Content may include, but is not limited to:

Consumer Culture

Lifestyle, Taste, Fashion and Identity

Design, Media, and the Production of Meaning

Commodification and Singularisation: Issues of Consumption

Contemporary visual cultures

Status and meaning of the ‘image’

Authorship and the politics of expression

Social media and constructions of identity

Crafting the digital

Narrative

In addition, the development of a sustained approach to researching visual culture forms an important aspect of this unit, enhancing your knowledge and understanding of the relationship between theory and practice. To this end we will investigate a variety of research resources which may include images, objects, verbal or written texts and other forms of material culture. Feedback during the year will encourage a developmental approach to research and writing, allowing you to increasingly reflect upon, and evaluate, your own learning. AIMS The aims of this unit are: A1 To articulate a model of complexity within cultural practices in relation to the production and

consumption of meaning. A2 To encourage positional argument through an analysis and evaluation of the possible

relationships between theory and practice. A3 To promote theoretically driven, research-based independent study through the

development of individually negotiated case-study evidence towards the provision of written argument.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Identify a range of contextual and theoretical paradigms related to the possible meanings of

visual culture and individual practice within frameworks of production, mediation and consumption.

LO2 Demonstrate an ability to develop and apply research-led positional argument based on the

analysis and evaluation of a variety of theoretical and contextual resources. LO3 Demonstrate an ability to undertake research, through the development of individually

negotiated case-study evidence, towards a structured, coherent and academic argument in written form

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity3 28 No. of hours of independent activity 272 No. of hours of placement activity 0 This will comprise: Activities drawn from Lectures, tutorials, seminars and independent study





Weighting (%)

Typical Indicative

Assessment tasks

Where the component


assessment task


double click in the box to see options.

The options equate to the assessment types in

table A2


Essay 50 Written assignment (e.g. essay)

2000-2500


2500





Written

Written assignment, including essay 100 Coursework

Report Coursework


Portfolio Coursework





Practical

Set exercise testing practical skills Practical

Table A3 – Summary Table A2 data Assessment Category Total % for Unit Written Coursework 100 Practical

Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit


Knowledge of a range of theoretical and contextual paradigms.

LO1

Development of positional argument based on the analysis, reflection and evaluation of theory in relation to practice.

LO2

Demonstration of independent research activity towards structured and coherent written argument according to academic convention.

LO3

READING LISTS4 Essential Barthes, Roland. (1957), Image, Music, Text. (Vintage Classics) Lury, Celia. (2011). Consumer Culture (2nd ed.) London: Polity Press – edition added Manghani, S., Piper, A. & Simons, J. (Eds.) (2006). Images: A Reader London: Sage Paterson, Mark. (2005) Consumption and Everyday Life London: Routledge Poynor, Rick. (2007) Obey the Giant: Life in the Image World. Springer – author surname corrected Rose, Gillian. (2016). Visual methodologies : an introduction to researching with visual materials (4th ed.) London: Sage. – newer edition Slater, Don. (1998). Consumer Culture and Modernity London: Polity Press Recommended Bowlby, Rachel. (2000). Carried Away: The Invention of Modern Shopping London: Faber and Faber Cashmore, E. (2013). Celebrity Culture. (2nd ed.) London: Routledge – newer edition Bourdieu, Pierre. (2010). Distinction London: Routledge Boyle, David. (2004). Authenticity: Brands, Fake, Spin and the Lust For Real Life London: Harper Perennial Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. Cambridge: Polity Press McCracken, Grant. (2005). Culture and Consumption Volume 2: Markets, Meaning and Brand Management Indiana: Indiana University Press 4 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

Seale, Clive. (2011). Researching Society and Culture (3rd edition) London: Sage – this is the 3rd edition, rather than the 2nd edition Wells, L. (Ed.). (2015). Photography: A Critical Introduction (5th ed.) London: Routledge – newer edition

UNIT TITLE Advertising Communication Unit Code EADV5003 Location Epsom Level Five Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version


CONTENT With creativity you prosper. “The author, Julian Barnes, once said: ‘You could look at human beings as machines designed for storytelling. From body language to syntax, from inflection to timing, we’re the perfect shape and form for utilizing this amazing art form’. We explain ourselves through this medium. Who we are, what we like, love, hate, our ambitions, fears and yearnings are all communicated through this device.” (Hegarty, 2011, p.96) This unit will explore verbal, written and visual language in conjunction with genre in order to better understand creative and strategic communication exploiting ‘storytelling’. You will also be expected to consider the impact of technology within advertising practice, and the use of ‘direct targeted’ advertising. Through this unit you will further develop your practical and technical skills through workshops related to your briefs. Hegarty, J. (2011) Hegarty on Advertising - Turning Intelligence into Magic. London, Thames & Hudson.

AIMS The aims of this unit are: A1 To better understand and apply written, verbal and visual language whilst developing a

further understanding of forms of communication, media and culture as they have emerged historically, and appreciate the processes through which they have come into being, with reference to culture

A2 To be knowledgeable of different genres in communication and how they relate to an

audience; A3 To create strategic forms of communication and critically evaluate your outcomes.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to:

LO1 Develop and demonstrate a critical understanding of verbal, written and visual language within the context of advertising;

LO2 Through application, demonstrate a critical understanding of genre and its appropriate use

within the context of advertising; LO3 Critically examine and evaluate your strategically creative work.

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity5 117 No. of hours of independent activity 183 No. of hours of placement activity 0 Lectures, seminars, group tutorials, supervised time in the studio, supported with workshops where appropriate. You will be expected to: • Explore and apply verbal, written and visual language strategically; • Apply strategic and creative thinking models; • Explore differing genres within the context of communication; • Explore the impact of technology and targeted advertising in a screen-based culture; • Apply theories to practice when developing communication; • Workshops in classical creative writing paradigms.





Weighting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task


double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx. word count where applicable

Portfolio 100% Research regarding visual genre, narrative of strategic and creative processes leading to an outcome, including: practical and technical skills. Research regarding written/verbal genre, narrative of strategic and creative processes leading to an outcome, including: practical and technical skills. Evaluation*, this could be written or verbal.



Assessment Type % of

assessment Category



Written


Report Coursework







Practical



Knowledge of written, verbal and visual language within the context of advertising through exploring how others read, listen and see communication

LO1

Better understand through analysing the language traits of particular audiences, genre and appropriate media.

LO2

Application of appropriate genre and language when addressing a particular audience in response to the briefs.

LO3

READING LISTS6 Essential Coble, P. ed. 2001, The Routledge Companion to Semiotics and Linguistics. Routledge. London


Kress, G. 2009, Multimodality: A Social Semiotic Approach to Contemporary Communication. Bowdery, R. 2008, Copywriting: the Creative Process of Writing Text for Advertisements or Publicity Material. AVA Publishing, Lausanne Mahon, N. 2010, Art Direction. AVA Publishing. Lausanne Cowgill. L J. 2006, Writing Short Films, 2nd ed. Lone Eagle. Los Angeles Recommended Applegate, E. (2015) Strategic Copywriting: How to Create Effective Advertising. (2nd ed.) Lanham, Rowman & Littlefield. – newer edition Arens, W. and Schaefer, D. (3ed 2011) Essentials of Contemporary Advertising. London, McGraw Hill. Armstrong, S. (2ed 2001 ) Advertising on the Internet: How to Get Your Message Across on the World Wide Web. London, Kogan Page. – out-of-date? Armstrong, S. (2009) Persuasive Advertising: Evidence-Based Principles. London, Palgrave Macmillan. Du Plessis, E. (2008) The Advertised Mind: Ground-Breaking Insights into How Our Brains Respond to Advertising. London, Kogan Page. Egami, Y. ed. (2008) Idea Industry: How to Crack the Advertising Career Code. New York, One Club Publishing. Fennis, B. and Stoebe, W. (2015) The Psychology of Advertising. (2nd ed.) London: Routledge. – newer edition Fletcher, W. (2010) Advertising: a Very Short Introduction. Oxford, Oxford University Press. Franzen, G. (1999) Brands and Advertising. Henley-on-Thames, NTC Publication Yakob, F. (2015) Paid Attention: Innovative Advertising for a Digital World. Kogan Page.

UNIT TITLE Personal Practice Unit Code EADV5004 Location Epsom Level Five Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version


CONTENT With creativity you prosper. “Advertising does not first get attention, and then create an emotion. Advertising creates the emotion, which results in attention… Emotion not only shapes our unconscious reactions to advertising; it also feeds into, shapes and controls our conscious thought about brands, products and services.” (Du Plessis, 2005, p.106) This unit will consider how you as an Art director, Copywriter or Digital Creative create ad campaigns that clearly connect with the viewer, and will capitalise on your prior learning. Through a D&AD brief (or other student competition including IPA, Creative Circle, etc) you will consider your audience/s and how they may respond to ad campaigns that you will create using verbal, written, visual and behavioural language. This will coincide with briefs that you will propose and negotiate. Through this unit you will further develop your practical and technical skills through workshops related to your briefs. Working on live briefs will present you with the opportunity to test your level of professionalism. Du Plessis, E. (2005) The Advertising Mind, United Kingdom & USA, Millward Brown. AIMS The aims of this unit are: A1 To better understand, through experience, the role of Copywriter, Art Director and Digital

Creative; A2 To employ the creatively strategic skills learned to create effective communication to address

a variety of problems; applying theory to practice; A3 To secure a number of ‘live’ briefs through mentoring and respond to them and within a team

on a competition brief. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to:

LO1 Demonstrate, as an art director or copywriter, or digital creative your capacity to create strategically directed pieces of communication within the context of advertising;

LO2 Through a number of ‘live’ briefs’, and competition briefs, demonstrate your ability to apply

theory to practice; LO3 Work productively in a group or team, showing abilities at different times to listen contribute

and lead effectively. INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity7 117 No. of hours of independent activity 183 No. of hours of placement activity 0 Lectures, seminars, group tutorials, supervised time in the studio, supported with workshops where appropriate. You will be expected to: • Work within a team as Art Director and/or Copywriter or /and Digital Creative • To synthesise work using academic theories (semiotics, strategic and creative models); • Attend workshops in type, typography and layout; • To develop a working relationship with your mentor: • Attend workshops to prepare for level 6.





Weighting (%) Typical Indicative

Assessment tasks

Where the component


assessment task




table A2

Word Count approx.

word count where

applicable

Portfolio 100% Briefs supplied by mentor and subsequent worksheets and outcomes, demonstrating strategic creativity and practical skills. Briefs supplied by D&AD or other student competitions, worksheets and outcomes, demonstrating strategic creativity and practical skills. Reflection/evaluation of learning*






Written


Report Coursework







Practical



Knowledge of art direction or/and copywriting or/and digital media their relationship in creating verbal, written and visual language.

LO1

Understanding the relationship of the image and the word through the use of a variety of theories including semiotics, syntax, gestalt, linguistics and gaze amongst others.

LO2

Application of professionalism, working with ‘live’ briefs.

LO3

READING LISTS8 Essential Baldwin, J & Roberts, L, 2006, Visual Communication: From Theory to Practice, AVA Publishing. Lausanne


Bowdery, R. 2008, Copywriting: the Creative Process of Writing Text for Advertisements or Publicity Material. AVA Publishing. Lausanne Mahon, N., 2010, Art Direction. AVA Publishing. Lausanne McKee, R. 1999, Story : substance, structure, style and the principles of screenwriting – best to include whole title. Methuen, London Recommended Bullivant, L. ed. (2007) 4d Social: Interactive Design Environments. New York, John Wiley & Sons. Burgess, J. and Green, J. (2009) YouTube: Online Video and Participatory Culture. Cambridge, Polity Press. Ellestrom, L. (2010) Media Borders, Multimodality and Intermediality. London, Palgrave Macmillan. Heller, S. and Vienne, V. (2009) Art Direction Explained: At Last! London, Laurence King. Kress, G. (2009) Multimodality: a Social Semiotic Approach to Contemporary Communication. London, Routledge. Maslen, A. (2010) The Copywriting Sourcebook: How to Write Better Copy Faster. London, Marshall Cavendish. Seddon, T. and Herriott, L. (2009) Art Directing Projects for Prints: Solutions and Strategies for Creative Success. Hove, Rotovision. Williams, R. and Newton, J. (2007) Visual Communication: Integrating Media, Art and Science. Mahwah, Lawrence Erlbaum.

UNIT TITLE Contextual and Theoretical Perspectives (Study Abroad Option)

Unit Code EADV5005 Location Epsom Level 5 Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version


CONTENT This unit encourages you to position your own practice by recourse to a variety of theories, contextual frameworks and critical evaluations, and introduces a variety of research methods to facilitate independent study towards coherent, self-reflective argument in written form. Taking as its starting point the premise that we live in a consumer culture, and that objects and images play a fundamental role in determining social and cultual meaning and value, the unit addresses a number of key texts with regard to the production, mediation, and consumption of that meaning. Exploring theoretical dialogues and debates around concepts of lifestyle, taste, fashion and identity through a series of lectures, you will be asked to consider the import of such theory in relation to both specific discipline-based practices and to the wider cultural field through seminar-based activities. Continuing with the belief that environments, objects and images 'package' experience through their often implicit narratives, the unit will also address a number of theoretical and contextual paradigms that speak to more specific areas of practice. While encouraging a view of such practice as often fluid and interdisciplinary, and subject to cultural and technological change, lecture and seminar material will increasingly focus on historical and contemporary bodies of theory and critical engagement that are most relevant to your particular discipline. In doing so, the unit will alight on a number of key issues that will allow you to further evaluate and position both shared practices and your own individual development. Content may include, but is not limited to:

Consumer Culture

Lifestyle, Taste, Fashion and Identity

Design, Media, and the Production of Meaning

Commodification and Singularisation: Issues of Consumption

Contemporary visual cultures

Photographic meaning

Authorship and the politics of expression

Social media and constructions of identity

Crafting the digital

Narration and navigation

In addition, the development of a sustained approach to researching visual culture forms an important aspect of this unit, enhancing your knowledge and understanding of the relationship between theory and practice. To this end we will investigate a variety of research resources which may include images, objects, verbal or written texts and other forms of material culture. Feedback during the year will encourage a developmental approach to research and writing, allowing you to increasingly reflect upon, and evaluate, your own learning.

AIMS The aims of this unit are: A1 To articulate a model of complexity within cultural practices in relation to the production and

consumption of meaning. A2 To encourage positional argument through an analysis and evaluation of the possible

relationships between theory and practice. A3 To promote theoretically driven, research-based independent study through the

development of individually negotiated case-study evidence towards the provision of written argument.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Identify a range of contextual and theoretical paradigms related to the possible meanings of

visual culture and individual practice within frameworks of production, mediation and consumption.

LO2 Demonstrate an ability to develop and apply research-led positional argument based on the

analysis and evaluation of a variety of theoretical and contextual resources. LO3 Demonstrate an ability to undertake research, through the development of individually

negotiated case-study evidence, towards a structured, coherent and academic argument in written form

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity9 28 No. of hours of independent activity 282 No. of hours of placement activity 0 This will comprise: Activities drawn from Lectures, seminars, tutorials, and independent study ASSESSMENT REQUIREMENTS Table A1- Assessment Components



Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task




table A2



2000-2500


2500





Written

Written assignment, including essay 100 Coursework

Report Coursework


Portfolio Coursework





Practical

Set exercise testing practical skills Practical 9 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

Table A3 – Summary Table A2 data Assessment Category Total % for Unit Written Coursework 100 Practical Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit


Knowledge of a range of theoretical and contextual paradigms.

LO1

Development of positional argument based on the analysis, reflection and evaluation of theory in relation to practice.

LO2

Demonstration of independent research activity towards structured and coherent written argument according to academic convention.

LO3

READING LISTS10 Essential Barthes, Roland. (1957), Image, Music, Text. (Vintage Classics) Lury, Celia. (2011). Consumer Culture (2nd ed.) London: Polity Press – edition added Manghani, S., Piper, A. & Simons, J. (Eds.) (2006). Images: A Reader London: Sage Paterson, Mark. (2005) Consumption and Everyday Life London: Routledge Poynor, Rick. (2007) Obey the Giant: Life in the Image World. Springer – author surname corrected Rose, Gillian. (2016). Visual methodologies : an introduction to researching with visual materials (4th ed.) London: Sage. – newer edition Slater, Don. (1998). Consumer Culture and Modernity London: Polity Press Recommended Bowlby, Rachel. (2000). Carried Away: The Invention of Modern Shopping London: Faber and Faber Cashmore, E. (2013). Celebrity Culture. (2nd ed.) London: Routledge – newer edition


Bourdieu, Pierre. (2010). Distinction London: Routledge Boyle, David. (2004). Authenticity: Brands, Fake, Spin and the Lust For Real Life London: Harper Perennial Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. Cambridge: Polity Press McCracken, Grant. (2005). Culture and Consumption Volume 2: Markets, Meaning and Brand Management Indiana: Indiana University Press Seale, Clive. (2011). Researching Society and Culture (3rd edition) London: Sage – this is the 3rd edition, rather than the 2nd edition Wells, L. (Ed.). (2015). Photography: A Critical Introduction (5th ed.) London: Routledge – newer edition

UNIT TITLE Advertising Strategy Unit Code EADV5001 Level...

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