Professional Documents
Culture Documents
International Journal of Politics, Culture and Society [ijps] PP359-298134 January 24, 2002 9:57 Style file version Nov. 19th, 1999
International Journal of Politics, Culture and Society, Vol. 15, No. 3, Spring 2002 (°
C 2002)
Book review: Image Makers: Advertising, Public Relations, and the Ethos of
Advocacy by Robert Jackall and Janice M. Hirota (Chicago: University
of Chicago Press, 2000).
1 Address correspondence to: Charles Gattone, Department of Sociology, 3219 Turlington Hall,
P.O. Box 117330, University of Florida, Gainesville, Florida 32611-7330.
499
0891-4486/02/0300-0499/0 °
C 2002 Human Sciences Press, Inc.
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International Journal of Politics, Culture and Society [ijps] PP359-298134 January 24, 2002 9:57 Style file version Nov. 19th, 1999
Office of War Information, Council members set out to bring the messages
of government to the public while hoping to improve the face of advertising
itself. At the war’s end, the leaders of the Council continued to tout its image
as a public service organization dedicated to spreading socially responsible
messages.
Jackall and Hirota recount the historical development of the Council to
demonstrate the larger point that it was the first organization to act as the
public relations arm of the national welfare state. As large-scale business
organizations became increasingly connected to the offices of the federal
government during World War II, the result was the formation of a highly
centralized and monolithic set of bureaucratic institutions. The significance
of the Council’s work is that it marks the beginning of an ongoing coop-
erative effort between business and government to manage public opinion
in a rationalized and routine manner. Jackall and Hirota suggest that this
approach ultimately served to divert attention away from these connections
while promoting simplified versions of establishment perspectives.
The irony of this development is that even in the face of such efforts
to boost the image of advertising, attacks against it resurfaced following
the war. Although the rise of television created new opportunities for image
makers, it also led audiences to become increasingly media savvy and critical
of the older, traditional techniques of persuasion. Leaders in advertising once
again found themselves struggling to find ways to sell themselves and their
products while staying on good terms with their target audiences.
Jackall and Hirota contend that William Bernbach managed to stem this
tide of growing antipathy and reinvigorate the face of advertising in the early
years of television. They cast him as playing a key role in developing in the
sixties and seventies new and innovative techniques of advertising. A some-
what charismatic individual with a unique ability to convince others of his
creative talent, Bernbach was highly effective in developing presentations
that captured the attention and esteem of audiences in a variety of media.
His strategy was grounded in a sense of the fast pace of modern lifestyles
and a recognition that in order to influence this crowd, advertisers would
have to develop an approach that cut through the rat-race of everyday life.
A key component of his approach involved reducing ideas to their simplest
form so that very little effort was required to make sense of them. Bernbach
also focused on finding ways to get people to laugh at themselves by taking
ordinary situations and slightly altering them to reveal hidden elements of
absurdity. This switch to simplicity and humor resonated with a public that
welcomed witty and entertaining advertisements. Jackall and Hirota point
out that the introduction of Bernbach’s techniques reoriented the advertis-
ing industry’s practices and transformed the field as a whole. A new era in
advertising had begun.
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International Journal of Politics, Culture and Society [ijps] PP359-298134 January 24, 2002 9:57 Style file version Nov. 19th, 1999
However, creatives are often at a loss to know which ideas will likely
be meaningful to their target audiences. They typically seek to resolve this
problem by keeping in touch with the basic premises of existing media culture
and the ideas of their fellow creatives, often incorporating current themes
into their own formulations. The requirement that they stay connected to
the latest fads in the media as well as those of their own peers ultimately
leads them to be “other-directed” and easily influenced by prevailing norms.
Image Makers reveals the irony of a scenario in which the very individuals
seen as having the ability to form new ideas in popular culture are themselves
guided by the thoughts and actions of others.
Jackall and Hirota recognize the extent to which advertising techniques
can be influential of target audiences. They touch on some of the ways con-
temporary image makers practice their craft, examining a few of the standard
techniques of persuasion and isolating the common unspoken messages that
are often implied in these presentations. A key example is the implication
of many advertisements that without the benefit of a given product, an indi-
vidual may not be leading a full life. This approach is designed to convince
consumers that only by purchasing a series of products and services can they
achieve socially approved levels of self-fulfillment. This technique plays on
the insecurities of middle-class Americans whose sense of what it means to
live a full life is often uncertain and subject to change. In a world without
a clear set of ideals or objectives, the promise of “secular salvation” can be
attractive to the average consumer.
Jackall and Hirota extend their analysis into the world of public rela-
tions and the techniques of persuasion used to strengthen the image of a
particular institution or set of ideas. They point to the parallels between
these two industries and reveal some of the ways public relations experts
strive to manage perception. In this age of advocacy, many individuals have
grown skeptical of messages emanating from organizations deemed to be
associated with a given cause or agenda. Once the vested interests behind a
campaign are revealed, the legitimacy of their claims may begin to falter and
their impartiality can be called into question. To avoid this scenario, public
relations experts typically create a “front” organization that does not exhibit
any clear connection to the parent institution, providing a means through
which to promote a set of ideas without appearing to be motivated by self
interest. Front organizations can serve as very effective instruments of per-
suasion by hiring celebrities and using morally loaded slogans to project the
impression of dedication to working toward a common set of community-
oriented goals. Receiving funding from private sponsors while maintaining
an image of acting on the behalf of an assumed public interest enables in-
stitutions to reorient popular sentiments on an issue while concealing their
actual intentions.
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International Journal of Politics, Culture and Society [ijps] PP359-298134 January 24, 2002 9:57 Style file version Nov. 19th, 1999
public relations fit neatly into this condition by strengthening the myths of
each standpoint and creating a fantasy world within which people can es-
cape into the illusions most comforting to them. As individuals sink into the
logic of their respective orientations, they lose the ability to make sense of
the world in ways that do not conform to their narrowly defined framework
of images. Perspectives other than their own seem irreconcilably misguided
and efforts to form mutual understanding become increasingly futile. The
result is a retreat of each group into the safety and security of its own limited
worldview. Jackall and Hirota contend that while the potential to transcend
these boundaries does indeed exist, the routine practices of advocates foster
the development of a society made up of individuals with only a shadowy
sense of the reality within which they are living.
Jackall and Hirota see this problematic trend as part of a larger move-
ment toward postmodern thinking in general, including a reluctance among
intellectuals to accept the possibility of objective knowledge. They are par-
ticularly critical of those who relish the postmodern turn in advertising as
further evidence of the ideological relativity of human existence, and assail
those who have joined the ranks of established institutions to act as their
newest spin masters in what is assumed to be a world of pure image. The
authors conclude that when thinkers of this caliber take the plunge into ide-
ological relativism, individuals outside this group are more inclined to do
so. Under such circumstances, the potential to learn from careful inquiry
falls prey to the allure of obscurantism, pushing sound assessments of the
social world into the margins of public debate. Jackall and Hirota ultimately
reveal their pessimism with regard to the possibility of contemporary society
climbing out of its conceptual rut and see the trends in advocacy as likely to
escalate in the future.
The reader of Image Makers may be surprised by this attack on post-
modernism and ponder its relationship to the larger message of the book.
Although Jackall and Hirota seek to draw the connections between this
conception of knowledge and the mythologies created in advertising and
public relations, they gloss over the complexities of this relationship and
project a relatively one-sided view of postmodernism in general. They are
certainly justified in their criticisms of intellectuals who have jumped on the
bandwagon of relativism to boost their own careers, but this does not take
away from the fact that some aspects of contemporary society can be tied
to the framework of an observer’s epistemological orientation. Even those
in academia who claim to be operating from the point of view of a positivist
tradition frequently find themselves in sharp disagreement over assessments
of existing reality. This is not to suggest that all knowledge is relative or that
all analyses of the social world are equally valid. It is simply to say that in ex-
amining the issues of image and perception, one can be critical of deceptive
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International Journal of Politics, Culture and Society [ijps] PP359-298134 January 24, 2002 9:57 Style file version Nov. 19th, 1999
ENDNOTES