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Diplomarbeit Diplomarbeit Titel der Diplomarbeit „Der Einfluss von Subkulturen auf die Werbung anhand von Guerilla Advertising“ Verfasser Simon Lanik angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, im Juli 2009 Studienkennzahl lt. Studienblatt: A 301 295 Studienrichtung lt. Studienblatt: Publizistik- und Kommunikationswiss. Gewählte Fächer statt 2.Studierichtg. Betreuerin / Betreuer: Dr. Michaela Griesbeck DANKE! Meinen Eltern & Meiner Betreuerin Dr. Michaela Griesbeck 1 Einleitung ...................................................................................... 9 2 Street Art ..................................................................................... 12 2.1 Einführung in das Phänomen Street Art ................................................... 12 2.1.1 Post-Graffiti ........................................................................................ 14 2.1.2 Graffiti ................................................................................................ 16 2.1.3 Die Entstehungsgeschichte ............................................................... 17 2.1.4 Die Anfänge der Street Art ................................................................. 19 2.2 Zusammenfassung der Merkmale ............................................................ 21 2.3 Definition .................................................................................................. 22 2.4 Street-Art-Ansätze und ihre bekanntesten Vertreter................................. 22 2.4.1 Blek Le Rat ........................................................................................ 23 2.4.2 Shepard Fairey .................................................................................. 25 2.4.3 Banksy ............................................................................................... 29 2.5 Spielarten der Street-Art ........................................................................... 31 2.5.1 Plakat ................................................................................................. 32 2.5.2 Cut Out .............................................................................................. 32 2.5.3 Stencils .............................................................................................. 33 2.5.4 Sticker ................................................................................................ 34 2.5.5 Kachel ................................................................................................ 34 2.5.6 Diverses ............................................................................................. 35 3 Cultural Studies .......................................................................... 36 3.1 Subkultur .................................................................................................. 36 3.2 Die Feldtheorie von Pierre Bourdieu ........................................................ 39 3.2.1 Der Feldbegriff und der Habitus ......................................................... 39 3.2.2 Die Kapitalformen nach Pierre Bourdieu ............................................ 40 3.3 Subkulturelles Kapital nach Sarah Thorntons Club Cultural Studies ........ 41 3.4 Die Street-Art-Subkultur ........................................................................... 42 3.5 Kommunikativer Aspekt ............................................................................ 47 3.6 Kommunikationsmedien ........................................................................... 49 4 Gemeinsamkeiten von Street-Art und bildender Kunst ........... 50 4.1 Pop Art ..................................................................................................... 51 4.2 Punk ......................................................................................................... 51 4.3 Culture Jamming ...................................................................................... 51 4.4 Land-Art ................................................................................................... 52 4.5 Kunst im öffentlichen Raum ..................................................................... 53 4.6 Dada ......................................................................................................... 53 4.7 Situationismus .......................................................................................... 54 5 Street-Art als angewandte Kunst .............................................. 55 5.1 Exkurs: Street-Art in der Galerie .............................................................. 57 6 Kunst und Werbung ................................................................... 58 7 Werbung ...................................................................................... 62 7.1 Definition .................................................................................................. 62 7.2 Wesen der Werbung ................................................................................ 63 7.2.1 Werbung als Form der Marktkommunikation ..................................... 63 7.2.2 Formen der Marktkommunikation ...................................................... 64 7.2.3 Massenkommunikation ...................................................................... 65 7.2.4 Werbung als Kommunikationsprozess ............................................... 66 7.3 Werbewirkungsforschung ......................................................................... 67 7.3.1 Wirkung und Erfolg, Rezeption und Nutzung ..................................... 67 7.3.2 Wirkunsgmodelle ............................................................................... 68 7.3.3 Mechanistische Ansätze .................................................................... 69 7.3.4 Hierarchische Modelle der Werbewirkung ......................................... 70 7.3.4.1 AIDA-Modell ................................................................................ 71 7.3.4.2 Drei Hierachie-von-Effekten-Modelle .......................................... 71 7.3.4.3 Zwei-Prozeß-Modelle .................................................................. 73 7.3.5 Die Vielfalt der Modelle ...................................................................... 74 7.3.6 Konzepte und Begriffe zur Werbegestaltung ..................................... 74 7.3.6.1 Die USP-Formel .......................................................................... 75 7.3.6.2 Erlebniswert und Zusatznutzen ................................................... 75 7.4 Geschichte ............................................................................................... 77 7.5 Neuorientierung der Werbung .................................................................. 79 7.5.1 4 Impulse der neuen Werbung .......................................................... 79 7.5.1.1 Nähe ........................................................................................... 80 7.5.1.2 Exklusivität .................................................................................. 80 7.5.1.3 Unsichtbarkeit ............................................................................. 80 7.5.1.4 Unvorhersehbarkeit ..................................................................... 80 8 Guerilla Advertising ................................................................... 81 8.1 Definition .................................................................................................. 81 8.2 Grundlagen des Guerilla Marketing .......................................................... 82 8.2.1 Above-the-line vs. Below-the-line ...................................................... 82 8.2.2 Ziele des Guerilla Marketing .............................................................. 83 8.3 Geschichtlicher Hintergrund ..................................................................... 84 8.4 Entwicklung des Verständnisses von Guerilla Marketing ......................... 85 8.5 Guerilla Advertising Instrumente .............................................................. 86 8.5.1 Verbreitung durch Presse und Medien .............................................. 86 8.5.2 Beispiel: Orchard Street / Nike Dunk Schuh ...................................... 87 8.6 Techniken des Guerilla Advertising .......................................................... 90 8.6.1 Eindringen ......................................................................................... 91 8.6.2 Transformation................................................................................... 91 8.6.3 Installation ......................................................................................... 93 8.6.4 Täuschung ......................................................................................... 94 8.6.5 Infiltration ........................................................................................... 95 8.6.6 Empfindungen.................................................................................... 96 8.6.7 Interaktion .......................................................................................... 97 8.6.8 Stunt .................................................................................................. 99 9 Der öffentliche Raum ............................................................... 101 9.1 Camouflage ............................................................................................ 103 10 Guerilla Advertising vs. Street-Art ........................................ 105 10.1 Beispiele ..............................................................................................
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