Super Bowl Ads Essay Example | Topics and Well Written Essays - 500 words

Super Bowl Ads - Essay Example Budweiser over the past ten years it has proven its consistency in the rating of their advertisement. Their advertisement has always been among the top ten advertisements. In the year 2000 it recorded the highest rating of 8.93. Budweiser in its advertisement has used dogs and puppies that many Americans keep them as pet. The advertisement brings out humor of dogs and puppies that attracts people attention. The following advertisement scored the lowest in the recent concluded Super Bowl Ads rating; â€Å"Heroes Charge† by Ucool with a rating of 3.12, followed by â€Å"Tackle it† by Jublia with a rating of 3.22 and finally â€Å"save the data† by T-mobile with a rating of 3.50. â€Å"Heroes Charge† advertisement received the lowest rating than any other advertisement â€Å"Voter Breakdown† 2015, n.p). The past ten years advertisement from those companies did not make it to the top 10 list. This year they have tremendous improvement, but still they can do better to challenge Budweiser. The measures used rate advertisement by Super Bowl did have differences. For instance, the advertisement of â€Å"lost dog† by Budweiser did not have uniform performance on each measure. The first measure of state performance lost dog performed best in Rhode Island on a scale of one to ten it had a rating of 10 and lowest rating being Neville with 9.18 (â€Å"Dancing in the End Zone: Ads and Brands That Won Big for Super Bowl XLVIII† 2015, n.p.). From these statistics it can be noted that Budweiser brand is preferred in the state of Rhode Island; therefore Budweiser has highest sales there. Women are known to adore puppies and Budweiser wanted to draw their attention with a strategy that will also allure them to Budweiser’s products. Age range rating was different with old and young less than 21 years have the highest rating of 8.89 and 7.93 respectively. According to (Wright, 1977, 37), the advertisement creates humor to the young and old will reflect in the sa les. This strategy

David Ricardo :: essays research papers

David Ricardo was born on April 19 1772 in London and was the third son of 17 children. His parents were very successful and his father was a wealthy merchant banker, making a fortune on the London Stock Exchange. When he was 14, Ricardo joined his father's business and showed a good grasp of economic affairs. However, he was disinherited by his parents when in 1793, he married a Quaker, so he set up on his own career as a stockbroker. He continued as a member of the stock exchange, where his ability won him the support of an eminent banking house. His success in this allowed him to retire at the age of 42. This enabled him to pursue his interests in literature and science, particularly in mathematics, chemistry, and geology. Along with Malthus, Ricardo was very concerned about the impact that rising populations would have on the economy. He argued that with more people, more land would have to be cultivated. However, the return from this land would not be constant as the amount of capital available would not grow at the same rate. In fact the land would suffer from diminishing returns. Extra land that was brought into cultivation would become more and more marginal in terms of profitability, and eventually returns would not be enough to attract any further capital. At this point the maximum level of economic rent would have been earned. The knowledge of comparative advantage enables countries to trade with other countries more efficiently and knowing the opportunity cost than are forgone and making the correct choices.It improves diplomatic relations between the trading countries.It also enables us to know which countries are relatively better at producing certain goods as compared to other countries.So,due to this theory,it allows trade between countries to improve their consumption of the goods in the market.

Developments in 3 Dimensional Art in 20th Century Essay

Three dimensional art works went through a heavy period of transition through the 20th century. At the start, sculpture could be summed up in Johann Gottfreid von Herder’s consideration of sculpture as â€Å"a harsh reality. † Unlike painting and the other traditional media, sculpture was being redefined, both formally and technically. Painting, despite the many innovations and explorations that occurred in the 20th century, was still oil and pigment put on a flat surface. But sculpture, rather 3 dimensional arts, became so much more dynamic and expansive. There was no requisite to make 3 dimensional artworks to be made of traditional materials like stone, bronze or wood; but instead, they could-and were-made of anything. One major development was installation art. Installation art was three dimensional works that was meant to engage and transform the exhibition space or whatever is in proximity to the work itself. Land art is the outdoor equivalent of this phenomenon. Installation can be considered coming into real prominence during the 1970’s, but has its roots all the way back with Marcel Duchamp’s readymade sculptures The genre can include traditional and everyday materials, as well as new media such as video, audio, and performance. Before the nomenclature of installation was coined, these types of works were also called environments, project art, and temporary art. Its primary focus is to have the work of art exceed traditional media through the escaping of flat, square frames, and pedestals with isolated objects. Instead, it attempts to immerse the viewer, the environment, and all its other adjunct factors in as a part of the art. For this reason, most installations are considered to have no definite specific media. Instead, it is said that time and space are the only persistent elements of this type of work. The overwhelming element of installations developed from Richard Wagner’s revival of Gesamkunstwerk in his operas. He incorporated every element of art to completely overwhelm the viewer. This is the intent of the installation artist. In another vein, three dimensional arts, particularly the more traditional genre of sculpture, the element and philosophy of minimalism became dominant with the vanguard of David Smith. David Smith is a primary example of this. His sculptures were some of the most original and simplistic sculptures at the time. Among the greatest American sculptors of the twentieth century, David Smith was the first to work with welded metal. He wove a rich mythology around this rugged work, often talking of the formative experiences he had in his youth while working in a car body workshop. Yet this only disguised a brilliant mind that fruitfully combined a range of influences from European modernism including Cubism, Surrealism, and Constructivism. It also concealed the motivations of a somewhat private man whose art was marked by expressions of trauma. Smith was close to painters such as Robert Motherwell, and in many respects he translated the painterly concerns of the Abstract Expressionists into sculpture. But far from being a follower, his achievement in sculpture was distinctive and influential. He brought qualities of industrial manufacturing into the language of art and proved to be an important influence on Minimalism. Collage was an important influence on Smith, and it shaped his work in various ways. It inspired him to see that a sculpture, just like a paper collage, could be made up of various existing elements. It also encouraged him to combine found objects like tools into his sculptures; it later influenced the way he contrasted figurative motifs and informed the way he assembled the large-scale geometric abstract sculptures of his last days. One of Smith’s most important formal innovations was to abandon the idea of a â€Å"core† in sculpture. This notion was pervasive in modern sculpture, fostering an approach that saw sculptural form springing from a center that was almost imagined to be organic and alive. But Smith replaced it with the idea of â€Å"drawing in space. † He would use thin wire to produce linear, transparent sculptures with figurative motifs at their edges. Later he would use large geometric forms to create structures reminiscent of the vigorous gestures of the Abstract Expressionists. One of the means by which Smith sought to keep the viewer at a distance from his sculptures – emotionally and intellectually – was to devise innovative approaches to composition. These were aimed at making it difficult for the viewer to perceive or imagine the entirety of the object at once, forcing us to consider it part by part. One method he used was to disperse pictorial motifs around the edge of the sculpture, so that our eyes have to move from one element to another. Another was to make the sculptures look and seem very different from the front than they do from the side. He completely redefined the construction methods of sculpture, using a blow torch to weld instead of casting—the normal way to make sculpture. As a result, much of his work is highly original, and it is considered that he has a strong relation to painters. The method he uses is, in fact, more closely related to painting than the typical act of sculpture. He adds separate pieces of scrap metal and welds them together. He also pushed the boundaries subjectively in sculpture, producing some subjects that were never produced in three dimensional arts before. Later on, he also began using a sander—which helped define the texture found on his cubi series. It was through this man that American sculpture was defined. Minimalism was his main influence in these later designs, in which he stripped forms of all their excess elements to give it the bare minimum representation. David Smith’s career encompasses a range of styles, from the figurative expressionism of his early relief sculptures, to the organic abstraction of his Surrealist-influenced work, to the geometric constructions of his later years. In this respect, he drew on many of the same European modernist influences as his peers, the Abstract Expressionists. And, like them, one of his most important advances lay in adapting the language Even with David smith and the minimalist movement, there were still more stylistic developments in the 20th century. There was also a resurgence of figurative art during this period. IN 1960, art critic Pierre Restrany wrote a manifesto for a group who called themselves the new realists, and called for a new way of perceiving the real. The term nouveau realisme, or new realism, has long been tied to the specific claims made by the critic Pierre Restany about the Paris-based art group he promoted. Restany convinced Arman, Yves Klein, Jean Tinguely, Daniel Spoerri, Martial Raysse, Jacques de la Villegle, Raymond Hains, and Francois Dufrene to sign on initially, and then added Cesar, Niki de Saint-Phalle, Gerard Deschamps, Mimmo Rotella, and Christo. His 1960 manifesto characterized their art as affirmatively summoning â€Å"the whole of sociological reality, the common good of human activity, the large republic of our social exchanges, of our commerce in society. This movement led to a newfound interest in the human figure, which seemingly disappeared during the popularity of abstract expressionism and minimalism. To this group any image could be incorporated into the art of the new realists. They had a similar goal as the makers of installations—to bring the world of art closer and more applicable to real life. Therefore they tended toward realistic artwork. In the field of figurative art, they often focused on outside objects of the figure for identification, in an attempt to avoid the â€Å"traps of figurative art:† petty bourgeois and Stalinist social realism. These artists also began a more collective attitude towards art, sometimes making works in collaboration with each other, with the intent of displaying the works anonymously. This massive new development in three dimensional work is partially due to the photograph making the realistic image somewhat obsolete, and thus at the beginning of the century an urgency of abstracted and eventually non representative work began to develop. Later on, abstract expressionism pushed boundaries even further to challenge the process of making art. By the time the sixties come around, artists are on the edge of these two frontiers, and some manage to push the boundaries even further, exploring the process more through building installations out of anything and making sculpture from scrap. Others, however, feel a drought in the art world and call for a new, innovative way to display the real. All in all, disinterest in realistic images and a thirst for exploration are what mark the midcentury three dimensional art scenes.

Analysis Of Hockey Game By Andy Warhol - 1262 Words

The image that I have chosen from Artstor, to demonstrate the understanding of the visual culture is a painting titled, â€Å"Hockey Game†. This image was created by Andy Warhol who was an American painter, printmaker and filmmaker from 1928 until 1987. There is no date on this piece. The actual size of this image is 8 by 10 inches and the material used is Gelaton silver print. Among the images found in Artstor, there is more than one image called the Hockey Game, created by the same author which are shots in time of pieces of specific hockey games. The image I choose, was of two pairs of players fighting with another player with a referee. Finding this image was achieved through the digital library Artstor, choosing all collections and†¦show more content†¦With each view having different ideologies when viewing an image, the artist in this case has left the power of his influence up to the value of the viewer. â€Å"Ideologies are produced and affirmed throug h the social institutions that characterize a given society, such as the family, education, medicine, the law, the government, the entertainment industry, among others† (p.23). As a hockey player and coach, I would view this image of a hockey fight as a natural progression of the game. If a person, ignorant to the game of hockey viewed this image, they may take offense or even be upset with the turn of events of the game. It is interesting that the there are a series of pictures called the â€Å"Hockey Game† created by Warhol, not all at the same game but showing different events of a game through this TV screen. I think the power of the series would give a viewer a much more vivid image or representation of hockey than the one specific image I choose a given instance in time. The second visual concept that will aid in the explanation of my visual analysis is the concept of realism and perception. â€Å"Art and images are in one view, a practice dedicated to the visual and material reproduction of things and events in the world. In this view, we might say that there are things in the world and then there are their representation†. (p.143). It isShow MoreRelatedThe taste of melon by borden deal11847 Words   |  48 Pagesgirls before. But I had to admit to myself that I was interested in Willadean. She was my age, nearly as tall as I, and up till the year before, Freddy Gray told me, she had been good at playing Gully Keeper and Ante-Over. But she didn’t play such games this year. She was tall and slender, and Freddy Gray and J.D. and I had several discussions about the way she walked. I maintained she was putting it on, but J.D. claimed she couldn’t help it. Freddy Gray remarked that she hadn’t walked that way