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Does Advertising Deserve a Museum? Study And Revista de Comunicación Vivat Academia RevistaRevistaISSN: 1575-2844de de Comunicación Comunicación · DOI: http://dx.doi.org/10.15178/va.2015.131.1-37 Vivat Vivat Academia Academia ISSN: ISSN: 1575-2844 1575-2844 Junio Diciembre2015Junio · Año 2015 XVIII 2011 Año · nº XVIIIAño 131· XIV pp. Nº131 1-37 Nº117 pp. 1-18 pp 131-163 RESEÑA/REPORTINVESTIGACIÓN/RESEARCH Received: 18/02/2015---Accepted: 20/04/2015---Published: 15/06/2015 CRÍTICAS DE CINE / FILM REVIEWS Octubre-Diciembre, 2011 DOES ADVERTISING DESERVE A MUSEUM? STUDY AND GLOBAL ANALYSIS OF MUSEUMS OF ADVERTISING Jesús Miguel Sáez-González1: Crítico de cine. Alcalá de Henares. España Consuelo Balado Albiol 1: Universitat Jaume I of Castellón. Spain. [email protected] [email protected] Octubre 2011 Eva Breva Franch: Universitat Jaume I of Castellón. Spain [email protected] ABSTRACT The changes occurring in both the design of museums from the 1970s, and advertising communications in recent decades have made the authors reflect on the absence of an international museum of advertising that has a physical space to showcase their collections and an area for study or research in this field. Thus, from the analysis of the importance of advertising for market economy and society, on the one hand, and how the new information and communication technologies have influenced the way of thinking about communication, on the other hand, the authors establish the museological lines where this hypothetical museum should focus from the study of the ELbibliography ÁRBOL DE about LA VIDA the subject. DE TERRENCE In a second MALICK phase they proceeded with a detailed analysis of physically based museum projects addressing the advertising field today. Out of the outcome of the analysis, without forgetting the Comotheoretical desentrañar framework, tamaña it is complejidad,concluded that, el misteriobecause deof thelo inabarcable,breadth of thela génesissubject, dela mundo,museum lo about absoluto, the disciplineel puro y shouldzigzagueante be considered recorrido as abstracto a national de laentity vida, but sometido with quizásprospects a anduna internationalcosmogonía relationsen imágenes through –intensamente research and visual study. graciasThis fact al cantrabajo be fotográficocarried out dethanks Lubezki-, to the entendiendotechnology that como brings cosmogonía us to almost un relatoany experience. mítico relativo a los orígenes del mundo, una teoría científica que trata del origen y evolución del universo –KEY Malick WORDS sostiene un espíritu creacionista, alejándose del evolucionismo de Darwin-. Advertising-Museum-Communication-Society-Education-Experience-Research- ElEconomy-International. realizador necesita la vida, no tanto la ficción, tomando modelos experimentales, deshaciéndose de todo decorado, situando a los actores en la escena por espacios libres que¿SE puedanMERECE recorrer LA PUBLICIDADlibremente, incluso UN dura MUSEO?nte el montaje, ESTUDIO aunque Y ANÁLISes este enIS un último términoMUNDIAL quien escoge DE y LOSalmacena, MUSEOS por otro DE lado PUBLICIDAD nunca nada es homogéneo, contrariamente a lo que el flujo de imágenes nos pueda hacer pensar, existe un espacio rasgado, más bien una grieta, una fisura que se establece entre la naturaleza y la 1 1AutorConsuelo correspondiente: Balado Albiol : Bachelor degree in Information Sciences from CEU San Pablo, Valencia and JesúsPhD in Miguel Communication Sáez-González: Sciences Crítico from de the cine. Universitat Alcalá de Jaume Henares. I of Castelló. Madrid Correo:[email protected] [email protected] 1 13120 RESUMEN Los cambios acaecidos tanto en la concepción de los museos a partir de los años 70, como en la comunicación publicitaria en las últimas décadas, hacen reflexionar a las autoras sobre la inexistencia de un museo internacional de publicidad que disponga de un espacio físico para mostrar sus colecciones y que se complete con una zona de estudio o investigación en la materia. Así, partiendo del análisis de la trascendencia que ha tenido la publicidad para la economía de mercado y la sociedad por una parte y de cómo las nuevas tecnologías de la información y comunicación han incidido en la forma de concebir la comunicación por otra, se establecen las líneas museológicas en las que debería centrarse este hipotético museo a partir del estudio de la bibliografía sobre el tema. En una segunda fase se ha procedido al análisis pormenorizado de los proyectos museísticos, con sede física, que abordan la materia publicitaria en la actualidad. Del resultado de dicho análisis, y sin olvidar el marco teórico, se concluye que debido a la amplitud de la materia, un museo sobre esta disciplina se debe plantear como un ente nacional pero con perspectivas y relaciones internacionales a través de la investigación y el estudio. Hecho que se puede llevar a cabo gracias a la tecnología que nos acerca a casi cualquier experiencia. PALABRAS CLAVE Publicidad-Museo-Comunicación-Sociedad-Educación-Experiencias-Investigación- Economía-Internacional 1. INTRODUCTION The history of advertising starts with the beginning of trade; therefore, it is surprising that the great activity generated by this technique, both in terms of materials created and investment generated, that is also considered by some as an art, has not deserved enough attention to be reflected in a museum internationally and exclusively dedicated to this matter. Perhaps the same inability to cover, in a single space, so much information and so much material created over centuries around the world has made it impossible to make a project like this. Since, at present, there have been only six experiences that somehow addressed, in a physical space, the partial display of an advertising sample of the countries in which these museums are located. While it is true that there is virtually a large number of web pages that in different countries hold the title of "museum of advertising," the fact remains that, like the "physical" museums, they only partially address such a vast subject as advertising communication. Evolution in the concept of museum from the 1970s In the decade of the 1970, museums began to change their conception and stopped considering the public only as a passive contemplating element to treat them as an 20 2 21 active subject, which interacts with the museum. The purpose was to create places of relationship, through courses, workshops, conferences, tutorials, exhibitions ... in which the viewer had of a number of elements that would allow him to interact with the whole universe surrounding the mere physical space. The significant increase in the number of museums that were opened from the 1980s on has meant that museums are no longer institutions devoted exclusively to exhibiting artwork and have to become cultural centers that develop many activities for a diverse audience ( Vidarte, 2004). This openness to society is what has made them amenities, in close spaces where you can not only enjoy the museum experience but also participate in enrichment activities offered in most of these institutions. García Serrano believes that the change of mentality and concept being socially operated regarding museums has to do with the renovation underwent by the concepts of culture and cultural institution. Culture is no longer the privilege of a few, it has diversified and desecrated, and it is considered a common rightfully free social good and a legal conquest of the civilization of leisure. Besides, the so-called mass culture has increased the horizons of the products of cultural activity, creating, along with a conceptual revolution, an extraordinary diversification and multiplication of cultural assets deserving to be displayed in museums. In other words, if the new civilization has created an extensive and widespread social awareness of the need to preserve and revitalize cultural monuments, and cultural production and therefore the number of objects "to preserve" have increased, the clear result is that every day there will be need for more museums endowed with more resources and with a much more modernized and streamlined approach. (García Serrano, 2000, p.16) As for cultural institutions, he says that, with the implementation of large-scale marketing and the related techniques, international cooperation in the cultural field defining fronts, common actions and cultural policies has evidenced the urgent need for recycling. It is in this context that the new museology appears, which, according to the criterion of Alonso (2006, p.25) is an international movement that has managed to remove from the ground the secular "peace", both the museum institution and the cultural heritage, searching for a new language, expression and greater openness, dynamism and socio-cultural participation, the "new museology" advocates and promotes a different type of museum. With these winds of change coming from the 1970s, in 1986 UNESCO provided a definition, through its organization of museums, ICOM, on the museum as the permanent establishment to preserve, study, put in value by various means, and essentially display for public delight and education collections of artistic, historical, scientific or technical interest. The museum is a medium, the only one depending on non-verbal language, objects and demonstrable phenomena. The museum is an institution to the service of society which acquires, communicates and, above all, states the purpose of the study, savings, education and culture, representative testimonies of the evolution of nature and mankind. Another viewpoint impinging
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